The previousPrincess MakoContinuing on from this, let's take a look at the song that Princess Kako recited at the beginning of the song session. Princess Yoshiko's tanka poems, starting with Eishin in 2020, can be viewed on the Imperial Household Agency's website as of 2020.
2015 Poetry Society “Hon”
``At night when I read a book to my younger brother, I sleep thinking of my traveling mother.''
2016 Poetry Society “Hito”
“A story told from the stage created by young people working together.”
This is the debut work and the song from the following year. How about? The conclusion, which is ``...I think of it as a sleep'' and ``...I think it's a long story,'' is extremely vague, and the content is descriptive, but unfortunately, it is not written as a tanka.
However, we can immediately see an evolution in the songs of 2017.
2017 Poetry Society “No”
“The flower crown I made with my friends while picking sardines in the spring field.”
This song has a pleasant rhythm. The lyrics include memories from childhood, and I could feel a little bit of Princess Shikiko's famous poem in this song.
“The dawn of dew on Karine’s field, tied to the grass by the forgetful Aoi” (Prince Shikiko)
2019 Poetry Society “Light”
“The clouds of Leeds in winter bring back memories of my hometown sky.”
Reiwa 2 “Nozomi”
``I continued walking for six years, hoping to follow my school route from Mt. Mikasa.''
These recent songs have even more beautiful tones. By the way, ``Mikasayama'' in the song of 2020 does not refer to Mt. Kasuga in Nara, but to a corner of Akasaka Gyoen National Garden with the same name. When you add 2019's ``Omomoiruru Furusato no Sora'' to this, Abe Nakamaro's famous poem comes to mind.
``If you see the Ama no Hara Furisake, it might be the moon that appears in the mountains of Mikasa on Kasuga.'' (Nakamaro Abe)
Is that what you're aiming for? ?
Now, as I have seen for a short time, Princess Kako has a solid ``ear'' as a poet. However, although it is presumptuous, I have to say that the content is as ordinary as that of Princess Mako.
The reason for this is clear. They are too caught up in the ``title'' of the poem.
The song session begins with a ``taimei'', but being too conscious of this basic rule, he half-forces the material from his own past experiences that are suitable for the title, and the song ends up becoming an impression, and as a result, it ends up being a song that is not a song at all. That's what happens.
But isn't it possible to create a good song with a title poem? That's not true. Many of the poems in the imperial court during the Heian period were theme poems, but even so, there are still many famous poems that are rich in variety. This is a change not in the title, but in the author, breaking out of the rut of writing titles. For example, in classical waka poems, there are many poems about men wetting their sleeves in anticipation of someone who doesn't come, or about a nobleman in the capital sleeping alone in a hermitage. In other words, he pretends to be someone other than himself and writes songs about his diverse personalities and landscapes.
People tend to think that ``songs'' reveal one's innermost thoughts, but this is hardly the case with classical waka. There are modern women who are thrilled by love poems such as Hyakunin Isshu, but it is hard to tell what the poet's true feelings are in these real poems. This is the big difference between waka, which is trained through the play of ``wa'', and modern tanka, which is fixated on the inner ``individual''.
In any case, it's important to know that even if the poem has a fixed title, there is a way to create a variety of poems by pretending to be a different personality.
(Written by: Waka DJ Ucchi)
Learn the basics of waka poetry and try reciting it!
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